And so, Senses of Cinema has reached its 40th issue. To celebrate this milestone, the journal has collaborated with ten artists from the prominent dotmov media arts collective to pay tribute to ten of the w...
For many decades, Peixoto’s avant-garde film remained a mostly unseen treasure of Brazilian cinema. This article brings the film’s historical context to light, and discusses its enduring influence on a new generation of filmmakers.
Like many of his collaborators, filmmaker Jackie Raynal was present at the Cinémathèque Française’s memorial homage to Rohmer earlier this year. Sparked by the occasion, she looks back at her time with Rohmer in this heartfelt reminiscence.
A landmark interview originally published in Cahiers du cinéma in 1970. The journal was in the midst of its Marxist/Leninist era, while Rohmer's Bazinian idealism was vindicated by the success of My Night at Maud’s. A fascinating joust between two entirely opposed views of the cinema
Rohmer was himself a private and reserved individual who, more often that not, shunned the spotlight. Bruce Perkins examines three documentaries on the filmmaker, and concludes that together they offer as vivid and multi-dimensional a portrait of Rohmer as we can wish for.
In both content and form, a strong pedagogical endeavour has informed the work of Rohmer throughout his career. Darragh O’Donoghue discusses this inclination, focusing on some of the earlier shorts and made-for-television documentaries.
The topographical tracings of Rohmer’s feature debut reveal a dual motif: the cartographic and the photographic. Roland-François Lack’s insightful essay meticulously traces the unfolding of this dual motif.
Love, morality, fidelity and chance crystallised around Pascal’s ‘wager’. Taken by many to be the key film of the ‘Six Moral Tales’ series, the fascination of this film has not receded with time. Constantine Santas unravels the film’s thematics.
“What are all these paintings doing in a history of cinema?” The author gives an answer in her analysis of Godard’s monumental video work, which approximates André Malraux’s concept of the imaginary museum.
Michael Powell’s 1966 satire on Australian life-style made extensive use of Sydney locations. Collins discusses a range of cultural discourses that frame conceptions of the city, both real and imaginary.